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Jim Hyslop

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Everything posted by Jim Hyslop

  1. Hi, I've been reading the American Cinematographer Manual. The article "Comparison of Film Formats" (page 25 in the 9th edition) refers several times to "double IPs" but doesn't define what a double IP actually is. In each case, it's referring to cross dissolves, titles, or other optical effects. I know what an IP (interpositive) is, but what's a double-IP?
  2. Certainly. In answer to your earlier question about other shots of Lahore that are clear - maybe they shot just after a rainfall. And, as Alfeo said, avoid backlighting.
  3. Yep, that's all there is to it. When you say it doesn't sync at all, is that after syncing up the slate "the old fashioned way"? How long before the sound goes out of sync?
  4. I have had no problems importing footage from an EX1 into Final Cut. I have a MacBook Pro, which has the PCI Express slots, so all I had to do was download the drivers for the SxS card. Transferring files is simple: Plug in the card, drag the files to the working drive, eject the card (you can now reuse it) launch FCP, go to "Log and Transfer" and ingest. -- Jim
  5. Yep. I'm in my second career change right now. I started out working in theatre and film, and drifted into software development. BIG mistake, and now (at the age of 47 - yikes!) I'm switching back to film production.
  6. I hope "CAA" refers to a Colombian agency, not a Canadian agency. "CAA" in Canada is the Canadian Automobile Association (NavCanada is responsible for aviation matters in Canada, in case anyone's interested). -- Jim
  7. Check with any rental house that maintains its own lights. They should be able to point you in the right direction. You probably know this already, but I'd feel better if I point out that there are likely legal requirements not only for the wire size (probably the British equivalent of 12 gauge AWG) but also for the thickness, robustness and suppleness of the conductor insulation and outer jacket. -- Jim
  8. FCP can export a PAL video from an NTSC timeline. Go to File | Export | Quick Time Movie...| and change the "Setting" drop-list to one of the PAL codecs. BTW, conversion not only changes the frame rate but the image size - PAL aspect ratio is different from NTSC. Ah, I love standards - so many to choose from! :D -- Jim
  9. A garbage matte would help a lot - create the matte the same size as the painting area. If necessary you could rotoscope a matte around the actor, although that's very tedious and time-consuming (been there, done that, prefer not to do it again if I don't have to). -- Jim
  10. Well, I could see how your post could be interpreted as mean-spirited. That bit about the redundant s was rather gratuitous, and you never know how sensitive someone might be about their name. On the other hand, I don't think it deserved as harsh a reply as you say you received. Denisse, if you're still reading this thread, I've found it extremely helpful to write up a reply, then delete it, then write another one, then delete that one. By the time you're on your third draft, you'll be calm enough that you won't regret what you wrote (or realize it isn't worth replying in the first place). It's generally wise to assume that no harm was meant, unless there is no other possible interpretation of the message. -- Jim
  11. I'm a bit confused - were you trying to keep the mag warm? I thought it was best to try to keep mags, lenses, etc. at the same temperature as the camera. I just 2nded a shoot this weekend and I kept insisting on NOT being given any space heaters, warm rooms, etc. The temperature was about -6 C (about 20 F). Was I being a martyr for nothing?
  12. Well, I can't claim to be a wise soul (I'm often called a wise guy, but I think there's a difference ... :-) Anyway, I'm taking a cinematography class now, and we did a quick DFN setup. We used tungsten film, and underexposed 2 stops. HTH! -- Jim
  13. That definitely changes things - especially if you have it in writing. Have a lawyer look over everything you have in writing. You could very well already have rights to the event, which (as someone already pointed out) trumps any agreement AMA may have negotiated with SPEED. -- Jim
  14. Well, the most basic reason would be so that you can communicate intelligently with your gaffer, and tell her precisely what you want. Or if you're working as a sparky until you can get into the camera department, when your gaffer tells you "Grab a 1K and a couple of inkies from the truck" you don't stare like an idiot. Or, worse, waste even more time by bringing the wrong light. With ANY profession, you need to know the tools of your trade. And that includes knowing what they're called.
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